"The Mother Art is Architecture"

"The Mother Art is Architecture" is part of a quote by Frank Lloyd Wright.

The full quotation is  : "The Mother Art is Architecture. Without an Architecture of our own we have no soul of our own civilization".

I am one of 6 artists, John Waters, Isabelle Devos, Jane Bennett, Stephen Nova, Chris Brown, and Hadyn Wilson currently exhibiting in the group show "The Mother Art is Architecture" at FrancesKeevil Gallery, 28-34 Cross Street Double Bay. Architecture is  the theme; yet each artist takes it in quite different directions.
Almost everything that I have ever painted has either been demolished or changed beyond all recognition: the pubs have been gentrified, working class terraces are now apartment blocks and Sydney is no longer a Working Harbour.
I have spent most of my career painting the loss of Sydney's "soul of civilization".

Without an architecture of our own we have no soul of our own civilization.
Read more at: http://www.brainyquote.com/quotes/quotes/f/franklloyd127711.html

Without an architecture of our own we have no soul of our own civilization.
Read more at: http://www.brainyquote.com/quotes/quotes/f/franklloyd127711.html

I was "Artist in Residence" at the "Hungry Mile", East Darling Harbour Wharves during its last years as a working port, courtesy of Patrick Stevedores and Sydney Ports Corporation. When I knew that port operations were ending, I used the wharf itself as a studio and gained unprecedented access to every aspect of the activities there. I painted on the wharves, from the bridge of the ships (courtesy of the ship’s captains) and wonderful bird’s eye views from the top of Harbour Control Tower. After the last ship had sailed, I continued my epic series of paintings of Barangaroo, the largest and most controversial Sydney Harbour construction project in living memory.

MW62 Harbour Tower from Moore's Wharf '
2015 oil on canvas 51 x 41cm

I had the run of the top floor and the amenities level of the 87 metre high Harbour Control Tower from the early 2000s until port operations finished there in April 2011, and afterwards had access to create paintings of various stages of the construction of Barangaroo. I spent many  New Year’s Eves on the top floor, painting 360 degrees of the fireworks exploding underneath against the unforgettable harbour view.

Two major works on paper which I painted from the top of the Harbour Control Tower a couple of years apart, will be featured in this exhibition.

These two large mixed media drawings show the maximum possible contrast between old and new; between heritage and development; between tradition and progress.

One shows views over Barangaroo and the waterfront. The other looks out over Millers Point towards the bridge. A nod to the past - and a look to the future.

The 2 works overlap slightly,  sharing the sweeping curve of the workers terraces of High Street as well as the quirky asymmetry of the old Palisade Hotel in common. They are on the far left hand side of the earlier work, and on the far right hand side of the later work.

HCT34  'Millers Point and Barangaroo
 from the top of Harbour Tower' 2010
ink acrylic gouache on paper 102 x 125cm
Enquiries

 

 

By the time of painting the later work, the Palisade had nearly completed its transformation from a down at heel wharfies’ dive into a luxurious upmarket watering hole for the new residents of Barangaroo and Walsh Bay Wharves.

The earliest version of the Palisade was built in the late 1800s, but the Sydney Harbour Trust commissioned Henry Deane Walsh to build a hotel on top of the pub, which was completed in 1915. The Palisade Hotel was literally a landmark as it was the highest building in Sydney at the time. Many diggers sank their last beer at the hotel before they boarded ships bound for the First and Second World War. It was also used as a lodge for workers constructing the Sydney Harbour Bridge. Over the years, the hotel has been frequented by many “colourful characters”. There's almost too much history in the walls.

Atop Millers Point, high above the harbour, the old Palisade Hotel sat forlorn for 7 years from the end of World Youth Day in 2008 until its reopening in August 2015, just in time for its centenary.  It had been closed in 2008 for an renovation by the then owner and sold at auction in March 2015 for about $20 million. Now the new owners have given it a $5 million renovation and reopened the ground-floor public bar.

This large mixed media drawing shows the view looking south from the Harbour Tower. The wharf buildings have just been cleared, revealing a bare expanse of concrete with a few cryptic markings which could either be for vehicles or possibly guidelines for future construction. The white marquee in the centre right of the wharf is the temporary cruise ship terminal. Soon afterwards, it was removed when the new cruise ship terminal at White Bay was opened.

 A faint shadow of the Harbour Tower is cast over a section of the wharf, about to be excavated for the Barangaroo Headland Park, which opened a year ago in August 2015.

The left hand side shows the early 20^th century Federation heritage architecture of Millers Point, still at this stage inhabited by the descendants of 5 generations of waterside workers. The staggered walls and gables that serrate the roofline of High Street are groupings of 4 individual flats, rather than individual houses.

Upper flats were divided from lower flats by an ingenious use of panels, to lessen noise and the risk of the spread of fire. Each flat had its own ventilated laundry, bathroom and scullery at the rear to maintain hygienic living conditions.

The lower flats had a courtyard to dry clothes and access to a rear lane for rubbish collection. The upper flats had rooftop drying platforms made of solid hardwood beams, packed tightly side by side and bonded by steel rods. The washing was launched into the air by nifty pulley mechanisms. Brick chutes and concrete tubes allowed rubbish to be dropped to the lane below.   

These humble dwellings were actually cutting edge design solutions to the problems of medium density urban living. They pioneered some of the earliest use of now ubiquitous technology in Sydney housing and incorporate some of the aesthetics and principles of Frank Lloyd Wright, who believed buildings should be made from the land and benefit the environment.

Another famous quote by Frank Lloyd Wright can be used to contrast the modest utility of the workers flats with the pomposity of recent development at Barangaroo : "A building should appear to grow easily from its site and be shaped to harmonize with its surroundings if Nature is manifest there.”

 

HCT42 'Vale Millers Point' 2014
 ink acrylic  gouache on paper
106 x 136cm
Enquiries

This mixed media drawing was one of the last I was able to paint from the top of the Harbour Tower.

It's the quintessential Sydney Harbour view, with a breathtaking panorama of Walsh Bay Wharves and Millers Point below my feet, and the Sydney Harbour Bridge in the background.

 I have painted every single building in this canvas from ground level, often from several angles, and met most of the residents and workers, old and new.

Detail of protest banners in High Street -

HCT42 'Vale Millers Point' 2014

ink , gouache on paper 106 x 136cm

Enquiries

 

The heritage architecture of Millers Point is festooned with a few defiant banners protesting against the inevitable eviction of the residents of High Street, Windmill Street, Lower Fort Street and Dalgety Terrace.

Reg Mombassa designed a T-shirt with the logo of a skull smoking a cigar and wearing a top hat, symbolizing the real estate agents and developers now infesting the once sleepy backwater.

A few hang from the rooftop drying platforms in Dalgety Terrace.

Close up detail of
protest T Shirts in Dalgety Terrace
HCT42 'Vale Millers Point' 2014 
ink acrylic  gouache on paper 106 x 136cm

Enquiries

 

At the time of painting, the Palisade Hotel was soon to be re- opened after 7 years of emptiness. In contrast, the city and Walsh Bay Wharves remain shrouded in darkness. 

In the background, cranes pick at the skeleton of the half demolished Hammerhead Crane on Garden Island. 

Earlier that year I had braved the daunting bureaucracy of the Navy to become the ‘Artist in Residence’ on Garden Island for several months so that I was able to paint the last days of this historic naval relic before it was demolished.

While painting this work, I realized the Harbour Control Tower was under threat of demolition, despite being an iconic landmark. 

The demolition process began in March 2016 and will continue until the end of the year.

Another quote from Frank Lloyd Wright :

“Architecture is life, or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived.”

Rust bucket

The now derelict 'William Wallbank and Sons' was a foundry on the Parramatta Road, Auburn, dating from 1932.

One of their specialties had been making the components for brick making machines.

AWW1 'Watching the forge fires fade 1
 'William Wallbank + Sons' 187 Parramatta Road'
2016 oil on canvas 56 x 76cm
Available

In 2008 I exhibited a series of paintings that I had created of old brickworks at Eastwood, St Peters and Brookvale at the Museum of Sydney during the book launch of "The Brickmasters"  , a comprehensive history of brickmaking in Australia by Ron Ringer.

Several of my paintings of Brickworks at Brookvale. Eastwood and St Peters were included in this book. At the launch I met Frank Wallbank, who invited me to paint in the foundry, but unfortunately I delayed taking up his offer.
A friend alerted me to the foundry's closure and I was able to contact the new owner and arrange access to paint. I am kicking myself for not getting there while it was still working, but better late than never!

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize
Available

 In a foundry, metal is melted into liquid in a furnace.

To cast the metal into shapes, the molten liquid is then poured into a mould in the shape of the desired part.
Simple designs can be made in a single piece or solid pattern.

More complex designs are made in two parts, known as a split pattern, which has a top section, or "cope", and a bottom section, called a "drag".

Patterns can be made from wax, wood, plastic, or metal.

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize 
Available

Traditionally, moulds were poured by hand, using ladles. It must have been horrifically dangerous.
I was told that all the foundry workers were supposed to wear a special sort of protective covering over their boots, similar to old-fashioned "spats" to stop the molten metal droplets burning their skin, but these were unpopular as the metal would still find a way to trickle down the gap and into their boots. Instead of protecting, the boot covering seemed to cause even more damage.

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize 
Available

Now modern foundries use robots or automatic pouring machines to pour the molten metal.
As the metal cools it solidifies and then the mould (known as a 'casting') is removed.

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize
Available

My canvas of this set of 3 abandoned ladles was recently runner-up in the 2016 Auburn Art Prize, held in the Peacock Gallery opposite the Botanical Gardens.
The central ladle has a capacity of 7 tons, and is flanked by a "three tonner" on the left, and a "four tonner" on the right.

AWW3 'Watching the forge fires fade  3-
'William Wallbank + Sons' 187 Parramatta Road'
2016 oil on canvas 51 x 71cm
Available

All of these ladles would date from at least 70 years ago.

They could even date from the earliest years of the foundry, as they are all rivetted, so they must date from a time before welding had replaced rivetting. 

Only the largest ladles were fitted with brakes to help modulate the flow of pouring the molten metal.

AWW4 'Rust Bucket' 7 ton ladle,
William Wallbank + Sons foundry 
2017 oil on canvas 122 x 91cm
PRIVATE COLLECTION : SYDNEY

I'm only able to gain access to paint in my strange new "studio" when the gates are opened to remove machinery, and I need to ring up on the night before.

Sometimes potential new owners come to inspect the premises, but they rarely stay for long.

Related posts

Steady Rest

Scar Tissue

Wrong side of the tracks - Darling Island Bond and Free

All fired up

Eveleigh - Industrial heritage artist at work

Irons in the fire

White Bay Power Station - Inside Out

Power Base - Artist in Residence at the White Bay Power Station

Pretty vacant

The Terminus Hotel has been sold at last.
I've heard that the new owners intend to relaunch it as a boutique hotel, over 30 years after it last traded. The Pyrmont Point Hotel will finally have its old competition back.
The 'For Sale' sign is still perched on its awning, so I thought that I would paint a few canvases before the renovations start in earnest.

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

I'll be curious to see how this poster-child for urban decay will look after renovation.

The vines covering most of the northern facade of the Terminus, which add to its 'Miss Havisham' air, will probably have to be removed.
The vines are actually Virginia creeper, not ivy, as is commonly stated.
The old late Victorian mansion behind the Harris street tennis courts, which used to belong to the CSR Refinery Manager, has a similar covering of Virginia creeper. The 'Rum Store' of the former CSR Refinery, and current Jacksons Landing development, used to also be completely covered in this spectacular vine.
I particularly love painting the Terminus Hotel in late autumn, as the Virginia creeper is changing colour from lime green to burgundy over the burnt orange Federation brickwork.
Burgundy, claret and wine colours seem appropriate to an old hotel.
This might be the last autumn to paint the vines.

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available
The legs of the Anzac Bridge straddle the end of John street. It is easier to see in autumn, as the plane trees are losing the leaves which obscured them.

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

During the demolition decade of the 1990s many Pyrmont hotels stopped trading : the New York in Edward Street, the Pyrmont Arms at 42 Harris Street, the pub on the corner of Mount and John street. These are now, respectively, a medical centre; apartments above a bottle shop and yet more apartments.

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

Other attractive heritage buildings and quirky industries disappeared without trace. Nobody really remembers much about what happened to them. The Terminus seemed to always have had an intangible charisma that set it apart from the rest. Why, out of all of these neglected and forgotten buildings did the Terminus alone become a legend?

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

How any of the pubs except the Pyrmont Bridge Hotel survived the Pyrmont diaspora decade of the mid 1980s - late 1990s is possibly the greatest mystery of all.

One reason it was so hard to pin down when the Terminus was finally shut is that by the end of the 80s, Pyrmont in the daytime was nearly deserted.

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

The industries that provided the customers for the traditional 'early opener' pubs were winding down and moving out. The last sugar ship left in 1991 or 1992; the CSR were winding down their operations and had only a skeleton staff; Pier 19, 20 21 had almost ceased to be a working wharf ; the cruise ships stopped coming to Pier 13 by 1992.

Starting a plein air nocturne oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

The Royal Pacific was seriously down at heel and unless a few familiar faces were drinking there I would feel a bit ill at ease walking around there late at night as there was sometimes a fairly dodgy looking crowd there and some of the locals would say quite flatly that it used to be full of gangsters. The Terminus seemed to be mostly full of boxers & bikies, so, take your pick!

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

By the early 1990s both places seemed very quiet, day or night, so it was hard to pin down exactly when the Terminus had shut.

Starting a plein air oil painting of the Terminus Hotel,

corner of Harris and John streets, Pyrmont.

Available

You can still see the 'ghost sign' saying 'Royal Pacific' on the eastern facade of the Pyrmont Point Hotel.

City's mysteries up for sale (smh.com.au)

For more information about the Terminus and Pyrmont Point Hotels see My Pyrmont page in this blog

Related Posts

Paintings of Pink Pubs

The Boiling Frog

My page of Pyrmont Paintings

A Tale of 2 Pyrmont Hotels - The Terminus and the Point

To the Point

Terminus Redux

In the pink- Former 'Pyrmont Arms Hotel'

Darling House, Millers Point- It's not dear it's darling

Darling House, at 8-12 Trinity Avenue, Millers Point, is an exquisitely restored Georgian-style Old Colonial sandstone building only a stone's throw from the Sydney Harbour Bridge. It's as sweetly pretty as the proverbial chocolate box. But it has a chequered past, & more than its fair share of scandal, conflict & controversy. 

The land upon which Darling House now stands was granted to Susanna Ward by Governor Darling in 1823 and transferred to Susanna Elizabeth Douglas in 1831. The name of the house refers to the original land grant by Governor Darling.

MP28 'Darling House' 2014 

oil on canvas 51 x 41cm

Available for sale

 

 

 

 

Previously there had been a sandstone quarry on this site & the convict hand carved sandstone blocks from which the house is built were probably from the original quarry.

 The current sandstone building now standing on the site was built over an earlier structure built in the early 1830s. Darling House retains traces of the foundations, retaining walls, stonework, cobbled paving and part of a brick cavity wall from the original building. The existing sandstone house now known as "Darling House" was built by Joseph Farris in 1842, during a period of financial depression in Sydney. It was a large fashionable house of 8 rooms (when most houses in Millers Point were only 2-4 rooms). With the increasing number of wealthy merchants and wharf owners moving into Millers Point and Dawes Point, it became an affluent enclave, with Argyle and Lower Fort Streets known as 'Quality Row.'

Farris was a well known publican, holding licences for the Whalers Arms Hotel on the corner of Windmill Street & Lower Fort Street, the Young Princess Hotel (now the Hero of Waterloo) and the Shakespeare Hotel. It seems that Farris never lived at Darling House, but leased it out to various middle-class, educated residents, including artists, musicians, teachers and police officers. 

During the 1860s the ground and first floor Victorian verandas were added, & the first floor windows were converted into French doors. English bald faced buildings give little protection against the sun while the French doors and veranda allowed for greater air circulation through the house during summer. Australian architectural styles were forced to change from traditional English styles to adapt to the vastly different Australian climate. 

Caraher's Stairs, named after Owen Joseph Caraher, a local soap merchant, was built in 1857. These flanked the northern wall of Darling House & gave access up to Princes Street (now the site of the Sydney Harbour Bridge) making a thoroughfare between Millers Point and the CBD. However there were many complaints that it was the haunt of thugs & street gangs, the infamous Rocks 'Push'. During the construction of the Sydney Harbour Bridge, Caraher's Stairs were demolished. There are still small remnants of this lost stairway at the northern boundary of Darling House. A fragment of the original material, part of the original sandstone side wall and coping remain, and a darker colour to the brickwork on the building that was built while the stairway existed shows the outline of the stairway.

The Farris family leased the property out, until after the outbreak of bubonic plague in 1901, it was resumed by the Sydney Harbour Trust. The Sydney Harbour Trust resumed almost every property in The Rocks, Millers Point & Darling Harbour between 1900 and 1902 to set quarantine measures in place. As many houses, even streets were demolished at this time, Darling House was lucky to survive. However, the area went rapidly down market & upon resumption, the Sydney Harbour Trust converted Darling House into a boarding house. One of the most notorious residents was Rosaleen Norton, the so-called 'Witch of Kings Cross', who lived in Darling House in the early 1900s. She scandalized the society of Sydney when she published her 'satanic' drawings in local tabloids.

 In 1948-49 Darling House was converted into a warehouse, resulting in the demolition of most of the internal walls and outbuildings on the property to allow vehicle access to the back of the house. The house was then leased to various commercial companies. 

The last known commercial tenant of Darling House was Lep Transport who installed a petrol tank and bowser. After they left the property became vacant and increasingly dilapidated.

“The Rocks Cottage Type Hospital” (later Darling House) was the first major project of the newly formed Millers Point Resident Action Group (MPRAG) in 1975. After much community effort a lease was signed with the State for the site in 1983. During that time funds were raised through “raffles and jumble sales of  chocolate wheels, and games of housie.” (Darling House – A Community Achievement – Shirley Fitzgerald 2015 )

By 1993 the Committee had capital funding of $500,000 from the Federal government approved. The State Liberal government promised a matching amount, the City Council promised $20,000 and a matching $20,000 from the community. At that time the State Housing Commission “couldn’t believe the value they got for their $500,000.” (Shirley Fitzgerald)

In 1994 Darling House underwent extensive renovations under the design of heritage architect Howard Tanner, including the construction of a new dwelling on the southern allotment, in order to convert the house into an aged care facility. The conversion into an aged care facility was a community initiative of MPRAG in Partnership with the Rocks Cottage Type Nursing Home Committee. It was a community funded and supported organization from the time of its opening on 4 October 1994 until 2015. In 2014 the State Government decided to sell 293 Government owned houses in Millers Point and Dawes Point to private purchasers. In 2015 the State Government of New South Wales decided that instead of a “peppercorn” rent of $50 p.a. the full market rent would be charged – hundreds of thousands of dollars. This led to the closure of the aged care facility in 2015, just twenty years after it had opened, and its subsequent sale..

Apart from the uncosted community time and effort in 'sweat equity', specific payments of over $200,000 have been noted, as well as about $500,000 for ongoing maintenance.

In February 2016  Darling House property was purchased for $7.7 million from the New South Wales Land and Housing Corporation at public auction by Dr Shane Moran. MPRAG was not reimbursed for their time, effort or money spent. It has been estimated that at least 20% of the value of the property & probably more, was directly attributable to the efforts of MPRAG, so they should have been reimbursed over $1.5 million from the sale. 

But this didn't happen, & the residents were furious at their betrayal by the State Government.

Since its acquisition by Provectus Care in 2016, the property has been refurbished into a boutique luxury retirement home. The extensive restoration has preserved Darling House’s original Georgian features  including original Victorian marble fireplaces, historic lead-light windows and period joinery.

However, Mr John McInerney, Chairman of MPRAG, said that although he wasn't opposed to the new aged care facility he was angered that the New South Wales government "has taken a community facility, cashed it in for $7 million odd dollars and has now made it inaccessible to the bulk of residents around here".

 

Related posts 

 

Tie a yellow ribbon 

 

No place like home 

 

Stairway to nowhere 

 

Another one bites the dust 

 

There goes the neighbourhood 

 

Banners, Millers Point